Vasudev Kutumbakam

Traditional Indian Dancing Styles

Srikanth Dasari — Sun, 05 Sep 2010 11:16:00 +0000

Introduction:
India is rich in its culture and arts. This is the only country which has multiple cultures. India has many languages as well as many arts (Music,Dance..etc). Indian dances and music were not only seen as ways to celebrate, but also as offerings of worship and thanks giving to the deity. All the dance forms were structured around the nine 'Rasa' or emotions, Hasya (happiness), Shoka (sorrow), Krodha (anger), Karuna (compassion), Bhibatsa (disgust), Adhbhuta (wonder), Bhaya (fear), Viram (courage) & Shanta (serenity). We can describe the Indian Dances in two major categories.

Indian Classic Dances
Indian Folk and Tribal Dances

Indian Classic Dances:

Indian classical dance is a relatively new umbrella term for various codified art forms rooted in Natya, the sacred Hindu musical theatre styles, whose theory can be traced back to the Natya Shastra of Bharata Muni (400 BC).

Bharata Muni was an ancient Indian musicologist who authored the Nathya Shastra dated between 400BC and 200BC. Indian Dance and music find their root in the Nathyashastra. Bharata has discussed in detail classical Indian vocal \ instrumental music and dance since they are integral to Sanskrit drama.
These classical dances are classified as below.

Dances performed inside the sanctum of the temple according to the rituals were called Agama Nartanam. Natya Shastra classifies this type of dance form as margi, or the soul-liberating dance, unlike the desi (purely entertaining) forms.
Dances performed in royal courts to the accompaniment of classical music were called Carnatakam. This was an intellectual art form.
Darbari Aattam form of dance appealed more to the commoners and it educated them about their religion, culture and social life.the kings of that time used to make der daughtres learn dance.

At present there are eight Indian classical dances styles are there which is mentioned by Sangeet Natak Akademi.

Dance form	State(s) of origin
Bharatanatyam	Tamil Nadu
Kathak	North Indian States
Kathakali	Kerala
Kuchipudi	Andhra Pradesh
Manipuri	Manipur
Mohiniyattam	Kerala
Odissi	Orissa
Sattriya	Assam

Other Art Dances yet to be conferred as Classical Dances, whose theories can also be traced back to the Natya Shastra are-

1. Gaudiya Nritya - Bengali Art Dance

2. Andhra Natyam - Telugu Art Dance

3. Vilasini Nrityam/Natyam - Telugu Art Dance

Out of the eight styles, the only two temple dance styles that have their origin in Natya Shastra and are prescribed by the Agamas are Bharatanatyam and Odissi. These two most faithfully adhere to the Natya Shastra but currently do not include Vaachikaabhinaya (dialog acts), although some styles of Bharatanatyam, such as Melattur style, prescribe the lip movements indicating Vaachikaabhinaya.

Kuchipudi, which also prescribes the lip movements indicating Vaachikaabhinaya, and Mohiniyattam are relatively recent Darbari Aatam forms, just as Kathakali, and two eastern Indian styles, Manipuri and Sattriya, that are quite similar.

Kathak originated as a temple dance. Some believe it evolved from Lord Krishna's raas lilas. The style gradually changed during the Mughal period under the influence of Persian dance, a major change being straight knees instead of the bent knees used in most other Indian classical forms. Intricate footwork and spins, as well as abhinaya, are the highlights of Kathak.

Currently, Sangeet Natak Akademi does not consider the recently reconstructed dance styles of Andhra Pradesh such as Andhra Natyam and Vilasini Natyam as "classical". Bharatanrithyam, despite being the one most closely following Natya Shastra's precepts, is considered as a variety of Bharatanatyam.

Bharatanatyam

Bharatanatyam : Bharatanatyam is a classical dance form originating in TamilNadu. This is one of the oldest of the classical dance forms in India, it is also known as fifth VEDHA. Bharatanatyam is usually accompanied by the classical music. It has its inspirations from the sculptures of the ancient temple of Chidambaram which is located in Chidambaram town in Tamilnadu.
Bharatanatyam comes from the words Bhava (Expression), Raga (Music), Tala (Rhythm) and Natya (Classic Indian Musical Theatre). Today, it is one of the most popular and widely performed dance styles and is practiced by many dancers all over the world.
Watch Videos On Bharatanatyam

Kathak: Kathak is originated from northern India. This dance form traces its origins to the nomadic bards of ancient northern India, known as Kathaks, or storytellers. These bards, performing in village squares and temple courtyards, mostly specialized in recounting mythological and moral tales from the scriptures, and embellished their recitals with hand gestures and facial expressions. It was quintessential theatre, using instrumental and vocal music along with stylized gestures, to enliven the stories. Its form today contains traces of temple and ritual dances, and the influence of the bhakti movement. From the 16th century onwards it absorbed certain features of Persian dance and Central Asian dance which were imported by the royal courts of the Mughal era.
There are three major schools or gharanas of Kathak from which performers today generally draw their lineage: the gharanas of Jaipur, Lucknow and Banaras (born in the courts of the Kachwaha Rajput kings, the Nawab of Oudh, and Varanasi respectively); there is also a less prominent (and later) Raigarh gharana which amalgamated technique from all three preceding gharanas but became famous for its own distinctive compositions.

Kathak

The name Kathak is derived from the Sanskrit word katha meaning story, and katthaka in Sanskrit means s/he who tells a story, or to do with stories. The name of the form is properly कत्थक katthak, with the geminated dental to show a derived form, but this has since simplified to modern-day कथक kathak. kathaa kahe so kathak is a saying many teachers pass on to their pupils, which is generally translated, 's/he who tells a story, is a kathak', but which can also be translated, 'that which tells a story, that is Kathak'.
Watch Videos on Kathak

Kathakali: Kathakali is a highly stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.
Kathakali originated from a precursor dance-drama form called Ramanattam and owes it share of techniques also to Krishnanattam. The word "attam" means enactment. In short, these two forerunning forms to Kathakali dealt with presentation of the stories of Hindu gods Rama and Krishna.

Kathakali

Kathakali is considered to be a combination of five elements of fine art:

Expressions (Natyam, the component with emphasis on facial expressions)
Dance (Nritham, the component of dance with emphasis on rhythm and movement of hands, legs and body)
Enactment (Nrithyam, the element of drama with emphasis on "mudras", which are hand gestures)
Song/vocal accompaniment (Geetha)
Instrument accompaniment (Vadyam)

Watch Videos On Kathakali

Kuchipudi: Kuchipudi is a Classical Indian dance form from Andhra Pradesh, India. It is also popular all over South India. Kuchipudi is the name of a village in the Divi Taluka of Krishna district that borders the Bay of Bengal and with resident Brahmins practicing this traditional dance form, it acquired the present name.

Kuchipudi

The performance usually begins with some stage rites, after which each of the character comes on to the stage and introduces him/herself with a daru (a small composition of both song and dance) to introduce the identity, set the mood, of the character in the drama. The drama then begins. The dance is accompanied by song which is typically Carnatic music. The singer is accompanied by mridangam (a classical South Indian percussion instrument), violin, flute and the tambura (a drone instrument with strings which are plucked). Ornaments worn by the artists are generally made of a light weight wood called Boorugu.
Watch Videos On Kuchipudi

Manipuri dance: Manipuri dance is one of the major Indian classical dance forms. It originates from Manipur, a state in north-eastern India on the border with Myanmar (also known as Burma). In Manipur, surrounded by mountains and geographically isolated at the meeting point of the orient and mainland India, the form developed its own specific aesthetics, values, conventions and ethics. The cult of Radha and Krishna, particularly the raslila, is central to its themes but the dances, unusually, incorporate the characteristic cymbals (kartal or manjira) and double-headed drum (pung or Manipuri mridang) of sankirtan into the visual performance.

Manipuri dancers do not wear ankle bells to accentuate the beats tapped out by the feet, in contrast with other Indian dance forms, and the dancers' feet never strike the ground hard. Movements of the body and feet and facial expressions in Manipuri dance are subtle and aim at devotion and grace.

Manipuri dance

The traditional Manipuri dance style embodies delicate, lyrical and graceful movements. The aim is to make rounded movements and avoid any jerks, sharp edges or straight lines. It is this which gives Manipuri dance its undulating and soft appearance. The foot movements are viewed as part of a composite movement of the whole body. The dancer puts his or her feet down, even during vigorous steps, with the front part touching the ground first. The ankle and knee joints are effectively used as shock absorbers. The dancer’s feet are neither put down nor lifted up at the precise rhythmic points of the music but rather slightly earlier or later to express the same rhythmic points most effectively.
The musical accompaniment for Manipuri dance comes from a percussion instrument called the Pung, a singer, small cymbals, a stringed instrument called the pena and wind instrument such as a flute. The drummers are always male artistes and, after learning to play the pung, students are trained to dance with it while drumming. This dance is known as Pung cholom. The lyrics used in Manipuri are usually from the classical poetry of Jayadeva, Vidyapati, Chandidas, Govindadas or Gyandas and may be in Sanskrit, Maithili, Brij Bhasha or others.
Watch Videos on Manipuri Videos

Mohiniyattam: Mohiniyattam s a traditional South Indian dance from Kerala, one of the eight Indian classical dance forms. It is considered a very graceful dance meant to be performed as a solo recital by women. The term Mohiniyattam comes from the words "Mohini" meaning a woman who enchants onlookers and "aattam" meaning graceful and sensuous body movements. The word "Mohiniyattam" literally means "dance of the enchantress". There are two stories of the Lord Vishnu disguised as a Mohini. In one, he appears as Mohini to lure the asuras (demons) away from the amrita (nectar of immortality) obtained during the churning of the palazhi or Ocean of Milk.

In the second story Vishnu appears as Mohini to save Lord Shiva from the demon Bhasmasura. The name Mohiniyattam may have been coined after Lord Vishnu, and the main theme of the dance is love and devotion to God, with usually Vishnu or Krishna being the hero. Devadasis used to perform this in temples. But it also has elements of Koothu and Kottiyattom in it. Mohiniyattam is a drama in dance and verse.
This dance which has influences and elements from two South Indian dance forms, the Bharatanatyam and Kathakali, was formulated in the court of king Swati Tirunal by Vadivelu, one of the Thanjavur Quartet. The dance involves the swaying of broad hips and the gentle movements of erect posture from side to side. This is reminiscent of the swinging of the palm leaves and the gently flowing rivers which abound Kerala, the land of Mohiniyattam. There are approximately 40 different basic movements, known as 'atavukal', in Mohiniyattam.

Mohiniyattam

Revival of Mohiniyattam during the later part of 20th Century is deeply indebted to the constructive contributions of the three Pillars, i.e. Sri Swathi Thirunal Rama Varma , Sri Vallathol Narayana Menon (a great poet and founder of the institution, Kerala Kalamandalam) and Smt. Kalamandalam Kalyanikutty Amma (who is considered as “the mother of Mohiniyattam”) for its revival. Guru Kallyanikutty Amma cleared the mythical mystery behind the name of this dance form and gave it the most convincing explanation based on truth, social and historical evolution, interpreting Mohiniyattam as the dance of a beautiful lady than that of a mythical enchantress from heaven.
The costume includes white sari embroidered with bright golden brocade (known as kasavu at the edges. The dance follows the classical text of Hastha Lakshanadeepika, which has elaborate description of Mudras (gestural expressions by the hand palm and fingers).
The vocal music of Mohiniyattam involves variations in rhythmic structure known as chollu. The lyrics are in Manipravalam, a mixture of Sanskrit and Malayalam. The Mohiniyattam dance is performed to this accompaniment by the subtle gestures and footwork of the danseuse. The performer uses the eyes in a very coy yet sensual manner, the purpose being to enchant the mind without enticing the senses.
Watch Videos on Mohiniyattam

Odissi: Odissi is one of the eight classical dance forms of India. It originates from the state of Orissa, in eastern India. It is the oldest surviving dance form of India on the basis of archaeological evidences.The classic treatise of Indian dance, Natya Shastra, refers to it as Odra-Magadhi. First century BCE bas-reliefs in the hills of Udaygiri (near Bhubaneshwar) testify to its antiquity. It was suppressed under the British raj but has been reconstructed since India gained independence.

Odissi

It is particularly distinguished from other classical Indian dance forms by the importance it places upon the tribhangi (literally: three parts break), the independent movement of head, chest and pelvis, and upon the basic square stance known as chauka.
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Sattriya: has remained a living tradition since its creation by the Assamese Vaishnav saint Srimanta Sankardeva, in 15th century Assam. Sankardeva created Sattriya Nritya as an accompaniment to the Ankiya Naat (a form of Assamese one-act plays devised by him), which were usually performed in the sattras, as Assam's monasteries are called. As the tradition developed and grew within the sattras, the dance form came to be called Sattriya Nritya. Today, although Sattriya Nritya has emerged from within the confines of the sattras to a much wider recognition, the sattras continue to use the dance form for ritualistic and other purposes for which it was originally created circa 500 years ago.
The core of Sattriya Nritya has usually been mythological stories. This was an artistic way of presenting mythological teachings to the people in an accessible, immediate, and enjoyable manner. Traditionally, Sattriya was performed only by bhokots (male monks) in monasteries as a part of their daily rituals or to mark special festivals. Today, in addition to this practice, Sattriya is also performed on stage by men and women who are not members of the sattras, on themes not merely mythological.
Sattriya Nritya is divided into many genres: Apsara Nritya, Behar Nritya, Chali Nritya, Dasavatara Nritya, Manchok Nritya, Natua Nritya, Rasa Nritya, Rajaghariya Chali Nritya, Gosai Prabesh, Bar Prabesh, Gopi Prabesh, Jhumura, Nadu Bhangi, and Sutradhara, to name but a few. Like the other seven schools of classical Indian dance, Sattriya Nritya encompasses the principles required of a classical dance form: the treatises of dance and dramaturgy, like Natyashastra, Abhinaya Darpana, and Sangit Ratnakara; a distinct repertoire (marg) and the aspects of nrtta (pure dance), nrtya (expressive dance), and natya (abhinaya).
Sattriya Nritya is accompanied by musical compositions called borgeets (composed by Sankardeva among others) which are based on classical ragas. The instruments that accompany a traditional performance are khols (drums), taals (cymbals) and the flute. Other instruments like the violin and the harmonium have been recent additions. The dresses are usually made of pat, a type of silk produced in Assam, woven with intricate local motifs. The ornaments, too, are based on traditional Assamese designs.

Sattriya

In the second half of the 19th century, Sattriya Nritya emerged from the sanctum of Assam's sattras. It moved from the monastery to the metropolitan stage. The sattras had maintained certain rigid disciplines and austerities within their walls, and until the first half of the 19th century this dance style was performed in a highly ritualistic manner by male dancers alone. The classical rigidity, the strict adherence to certain principles, and the non-engagement of academic research on the dance form all contributed to the delayed recognition and acceptance of Sattriya Nritya as one of the eight classical dance forms of India. On 15 November 2000, the Sangeet Natak Akademi finally gave Sattriya Nritya its due recognition as one of the classical dance forms of India, alongside the other seven forms.
However, despite its delayed inclusion within the canon of classical Indian dance, and the accompanying lack of organisational support from the Centre that that entailed, Sattriya Nritya continued through the centuries to maintain within its forms the classical exactitude and intricate detail that mark ancient art forms. One positive outcome of Sattriya Nritya's strict adherence to the principles of the sattras has been this ability to maintain its pure forms, its distinct style. Now that it has made its journey from the sanctified interiors of Assam's sattras to the demotic spaces of the world's stages, it is time for an appraisal of Sattriya Nritya's artistic and aesthetic qualities.

Watch Videos on Sattriya

Indian Folk and Tribal Dances:

These are simple dances, and are performed to express joy. These kind of dances are performed for every possible occasion, to celebrate the arrival of seasons, birth of a child, a wedding and festivals. The dances are extremely simple with minimum of steps or movement. The dances burst with verve and vitality. Men and women perform some dances exclusively, while in some performances men and women dance together.

These dancing styles are different by location / state.

Andaman and Nicobar Islands:

Nicobarese dances

Nicobarese dances: This is the dance of the Nicobarese - the fascinating tribal group residing in the island of Car Nicobar. Among the many fascinating tribal groups that inhabit the picturesque Islands of Andaman and Nicobar are the Nicobarese, who live in the Island of Car Nicobar. The dance is performed during the Ossuary Feast or the Pig Festival. Dedicated to the departed head of the family, the occasion is observed with night long dancing in the full moonlight under the swaying palms. The dancers dressed in coconut fronds step gracefully in time to traditional songs. Feasting and good food followed by a pig fight in the morning are other highlights of the celebration.

Andhra Pradesh:

Thapetta Gullu

Thapetta Gullu: This is the dance form of the Srikakulam district of Andhra Pradesh, in which more than ten persons participate, singing songs in the praise of the local goddess. The dancers use drums, which are hung around their necks to produce varied rhythms. Tinkling bells around the waist form a distinctive part of the dancers' costumes.

Arunachal Pradesh:

Bardo Chham: A folk dance of Sherdukpens, a small community of West Kameng District of Arunachal Pradesh, Bardo Chham depicts the victory of good over evil. The dance has an interesting background. According to the local beliefs, forces - both good and evil, rule mankind. The folks believe that in one year, twelve different types of stupid things , representing evil forces, appear each month and get together. The sherdukpens mask themselves representing the different animals and dance to the accompaniment of drums and cymbals as an act of fighting the evil forces.

Bardo Chham

Bihar:

Karma/Munda: The traditional dance gets its name from the Karma tree, which stands for fortune and good luck. The ceremony starts with the planting of the trees. Dancers, both men and women, form circles around it and dance with their arms around each other's waists. As the drum beats get quicker and louder, the dancers gain momentum and generally end in an uproarious tumult.

Chhattisgarh:

Panthi

Panthi: One of the prominent dance forms of Chhattisgarh, Panthi dance reflects the rich cultural heritage and traditional legacies of the indigenous tribal groups of the region. The folk dance of the Satnami community of Chhattisgarh bears religious overtones. Performed on Maghi Purnima - the birth anniversary of their Guru(Saint) Guru Ghasidas, the dance is evolving still to include a variety of steps and patterns. The dancers dance around a jaitkhamb set up for the occasion, to the songs eulogizing their spiritual head. The songs also reflect the Nirvana philosophy, conveying the spirit of renunciation of their Guru and the teachings of saint poets like Kabir, Ramdas, Dadu, etc. Dancers with bent torsos and swinging arms continue to dance till carried away by their devotion. As the rhythm quickens, they indulge in acrobatics and even form human pyramids.
Raut Nacha: A traditional folk dance usually done by yadavs/yaduvanshis (a caste which considers itself as descendants of Krishna) as symbol of worship to Lord Krishna. Done at the time of 'dev udhni ekadashi' (time of awakening of Gods after brief rest) according to Hindu pancang (calendar). The dance is a close resemblance of krishna's raas leela (dance of lord with his village's girls called gopis) with gopis.
Watch Videos on Panthi

Goa:

Tarangamel

Tarangamel: The multi-hued dance is all energy and youthfulness. On the occasions of Dussehra and Holi, the spirited young girls and boys swarm the streets in colorful group, waving flags and streamers (tarang), inspiring and inviting one and all to imbibe the festive spirit. They shout Ho! Ho! To the beats of 'romut', 'dhol' and 'tasha'. The rainbow like costumes of the dancers and the multi-coloured flags and streamers make Tarangamel a visually appealing affair.

There are many other dancing styles in GOA like Kunbi Dance, Koli Dance, Samayi nrutya, Jagar, Ranmale, Gonph, Tonnya mell, Dekhni.

Gujarat:

Garba

Garba : Garba is customarily performed by women, the dance involves circular patterns of movement and rhythmic clapping. It popularly performed during Navratri. It is more similar to Western folk dance than to the presentational style of Indian classical dances such as bharatanatyam and odissi. The name garba comes from the Sanskrit term Garba ("womb") and Deep ("a small earthenware lamp"). Many traditional garbas are performed around a central lit lamp. The circular and spiral figures of Garba have similarities to other spiritual dances. Traditionally it is performed during the nine-day Hindu festival Navarātrī (Gujarātī નવરાત્રી Nava = 9, rātrī = nights). Either the lamp (the Garba Deep) or else an image of the Goddess Amba is placed in the middle of concentric rings as an object of veneration.
People dance around the center, bending sideways at every step, their arms making sweeping gestures, each movement ending in a clap.
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Padhar: The Padhar are a Hindu caste found in the state of Gujarat in India.The Padhar are distributed in six villages in Surandarnagar and four villages in Ahmadabad District. The Padhar tribes of Gujarat have occupied a major position in the tribal communities of India. Padhar tribal community is one of the scheduled tribal communities of the state of Gujarat and is reckoned as one of the most ancient tribal groups of Gujarat. This tribal people are also known as Bahelia, Chita Pardhi, Lango Pardhi, Paidia, Paradi, Paria, Phans Pardhi, Takankar and Takia. It is performed by a rural community living around NalLake. In it, performers simulate the rhythmic movements of roving mariners and the undulating sea waves. The Bhil tribes, who live close to border tracts, and the Adivasis of Dangs district, have particularly lively folk dances.

Raas

Raas: Raas is an energetic, vibrant dance originating in the state of Gujarat. Often called the "stick dance" because it uses polished sticks or dandiya, it represents a mock-fight between Durga and Mahishasura, the mighty demon-king. It is nicknamed "The Sword Dance" because the dandiya represent the sword of Durga and are hit together.The combination of garba and raas has become very popular at the collegiate level in the United States. Garba-Raas competitions are increasing in number. Popular ones include Dandia Dhamaka, Raas Chaos, Garba With Attitude, Dandia on Fire and Maryland Masti among others.

Tippani Dance

Tippani Dance: Originated from the chorwad region of Saurashtra, laborer women take a wooden rod to beat the floor,which had iron/wood piece at one end, to make it stronger in opposite rows,which made the dance an interesting work.

Himachal Pradesh:

Kinnauri Nati: The beauty of hilly Himachal finds an expression in the languid and elegant movements that form a part of the marvelous Nati dance. The dance matches the gentleness of the hilly breeze and the rhythmic swaying of trees. The dance is mainly a mime but also incorporates some abstract but languid sequences. Important among the dances of Nati is 'Losar shona chuksom', which takes its name from Losai, or the New Year. The dance depicts all the activities involved in sowing the crop and reaping it.
Watch Videos on Kinnauri Nati

Kinnauri Nati

Namgen: The Namagen dance is performed in September to celebrate the autumnal hues. The costumes a\re largely woolen and richly studded ornaments of silver are worn by women. The most picturesque amongst these are dances of Gaddis. All regions of Himachal Pradesh have their own dances. Mostly men and women dance together, close to each other in the formation.

Karnataka:

Yakshagana :Yakshagana (Kannada:ಯಕ್ಷಗಾನ, pronounced as yaksha-gaana) is a classical dance drama popular in the state of Karnataka in India mostly popular in the districts of Uttara Kannada, Shimoga, Udupi, Dakshina Kannada and Kasaragod district of Kerala. This theater art involves Music, Songs, Dance, Acting, Dialogue, story and unique costumes. While, songs and dance adhere to well established talas very similar to classical Indian dance forms, acting and dialogues are created spontaneously on stage depending on ability of artists. This combination of classical and folk elements makes Yakshagana unique from any other Indian art. This would be considered to be a form of opera in western eyes.

Traditionally, Yakshaganas use to start late in the night and run entire night. Bhagavata, the background singer is also the directory of the story and controls the entire proceedings on stage. Bagavatha along with background musicians who play Chande and Maddale forms himmela. The actors who ware colorful costumes and enact various roles in the story forms Mummela.

Yakshagana is sometimes simply called as Aataā in both Kannada and Tulu (meaning play). Yaksha-gana literally means the song (gana) of a Yaksha. Yakshas were an exotic tribe mentioned in the Sanskrit literature of ancient India.

Yakshagana

There are many professional troops in Karnataka. Inspite of competition from modern movie industry and TV, these troops are arranging ticketed shows and making profit. Apart from this individuals arrange shows in their village inviting well know professional artists like Sri Chittani Ramachandra Hegde and Kondadakuli Ramachandra Hegde, providing an opportunity for local talents to act with legends.

Dollu Kunitha: The Dollu Kunitha is a popular drum dance of Karnataka. The vigorous drum dance performed by the men of the shepherd community known as ' Kurba'. Powerful drumming, acrobatic movements and attractive formations are the notable highlights of the dance. The men have large drums, decorated with colored cloth, slung from their necks, and they beat the drums as they dance with nimble movements of the feet and legs. The dance is at times accompanied by songs, which are either religious or in praise of war.

For more Information
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Kashmir:

Dumhal

Dumhal: Dumhal is a dance performed by the men folk of the Wattal tribe of Kashmir on specific occasions. The performers wear long colorful robes, tall conical caps that are studded with beads and shells. The party moves in a procession carrying a banner in a very ceremonial fashion. It is dug into the ground and the men begin to dance, forming a circle. The musical accompaniment comprises a drum and the vocal singing of the participants. Dumhal is performed on set occasions and at set locations.

Lakshadweep:

Lava: It is the colorful dance of the Minicoy Island of Lakshadweep in which dancers wear multi-hued costumes, a headgear and carries a special drum. The dance movements are prolific and profuse and are in rhythm with the drum beats and vocal accompaniment.

Madhya Pradesh:

Tertali: The Kamar tribe performs the Tera Tali, which is an elaborate ritual with many elements of dance. It is generally performed by two or three women who sit on the ground. Manjiras, or small metal cymbals are tied to different parts of the body, mostly the legs, and with a cymbal in either hand the dancer strikes these in rhythm. The head is covered with a veil, and at times a small sword is clenched between the teeth and an ornamental pot balanced on the head.

Charkula

Charkula: This dance is performed in the Braj region of Uttar Pradesh- the land of Krishna and his consort - Radha. Veiled women balancing large multi-tiered circular wooden pyramids on their heads, alight with 108 oil lamps, dance to the strains of 'rasiya' - songs of Krishna. Charkula is especially performed on the third day after Holi - the day, which Radha was born. According to legend, Radha's grandmother ran out of the house with the charkula on her head to announce the birth of Radha, since then, Charkula has formed a popular dance form of Brajbhoomi, performed during various festivities.

Jawara: The Jawara is performed in the Bundelkhand area of Madhya Pradesh. It is essentially a harvest dance-reflecting the gaiety and pleasure of the peasants who have reaped a good harvest. The dance is performed by men and women together. The costumes and jewellery worn by the women are colorful. The women carry baskets full of jawara on their heads and although the dance is very vigorous they are able to balance these baskets very skillfully on their heads. The accompaniment includes a rich variety of percussion, stringed and wind instruments.

Maharashtra:

Pavri Nach: In the hilly regions of the northwest, the Kokna tribal dance to the accompaniment of the tarpha or pavri, a wind instrument made of dried gourd. Because of this, the dance is known as Tarpha Nach or Pavri Nach. The performers hold each other by the waist and dance in close formation. Men also dance separately, and this includes feats of skill, like forming a pyramid or rapidly revolving a dancer round a stout pole.

Manipur:

Thang Ta

Thang Ta: Thang Ta is the martial art form exclusive to Manipur, with 'Thang' meaning sword and 'Ta' meaning spear. In this amazing display of the traditional art of warfare, performers leap and attack each other and defend themselves. Encouraged by the kings of the earlier times, Thang Ta is an ingenuous display of skill and creativity. The art has a ritualistic aspect with some movements of sword intended to ward off evil spirits, while other postures indicating protection. All the dance forms of Meiti people are believed to have originated from Thang Ta.

Dol cholam: The drum, by itself, enjoys a privilege in the dances of Manipur. There are several kinds of drums, each intended for a particular occasion. The festival of Holi, in spring, is the real time for drum dances, such as Dhol Cholom.

Mizoram:

Cheraw Dance

Cheraw Dance: Cheraw dance is a combination of rhythm and skill. Four people hold two pairs of long bamboos across one another on the ground. As the bamboo sticks are clapped together, the main dancers in traditional attires weave patterns through them in time to the rhythm. Cheraw is a major attraction during all festive occasions in Mizoram. Cheraw is believed to have a foreign origin. Similar dances are popular in the Far East and the Philippines. The Mizos may have brought the dance with them when they migrated to their land in India.

Nagaland:

Sua Lua

Chang Lo (or) Sua Lua: This dance of the Chang tribe of Nagaland was performed to celebrate the victory over enemies in the earlier times. Presently, it forms a part of all the community celebrations, such as Poanglem, a three day festival preceding the harvest season. There are dramatic costumes of the traditional Naga warrior and finery of womenfolk.

Orissa:

Ruk Mar Nacha (& Chhau dance): This is a rudimentary form of the more evolved Chhau dance of West Bengal. Performed in the Mayurbhanj District of Orissa, it has its base in the martial arts tradition. The dance is a stylized mock battle in which two groups of dancers armed with swords and shields, alternatively attack and defend themselves with vigorous movements and elegant stances. Especially notable is the accompanying music, noted for its rhythmic complexities and vigorous percussion. The instruments include 'Mahuri' - a double reeded instrument, 'Dhola' - a barrel shaped two-sided drum, 'Dhumsa' - a hemispherical drum and 'Chadchadi' - a short cylindrical drum.

Chhau dance

Goti Pua: The goti puas are boy dancers who dress up as girls. They are students of the akhadas, or gymnasia, established by Ramachandradeva in Puri, in the periphery of the temple. As they were offshoots of the akhada system, goti puas also came to be known as akhada pilas - boys attached to akhadas. Another reason often given to justify the emergence of the goti pua system is that some followers of the Vaishnava religion disapproved of dancing by women as a pretext for worship - they introduced the practice of dancing by boys dressed as girls. The word goti means 'one', 'single' and pua, 'boy', but the goti puas always dance in pairs. Boys are recruited about the age of six and continue to perform till they are 14, then become teachers of the dance or join drama parties. Goti puas are now part of professional teams, known as dals, each headed by a guru. The boys are trained for about two years, during which, after having imbibed the basic technique, they learn items of dance, ornamental and expressional. The goti puas, being youngsters in their formative years, can adapt their bodies to the dance in a far more flexible manner as opposed to the maharis. A goti pua presentation is ably supported by a set of three musicians, who play the pakhawaj, the gini or cymbals and the harmonium. The boys do the singing themselves, though at times the group has an additional singer.

Nacnī: female performers who sing and dance professionally in rural areas, accompanied by male ḍhulkī and nagarā drummers.

Pondicherry:

Garadi: The famous dance of Pondicherry is believed to have a purely mythological origin. As the legend goes, when Rama - the epic hero of Ramayana defeated Ravana then the vanars (monkeys) performed this dance to celebrate his victory. Garadi is performed during all festivals and usually continues for five to eight hours. The dancers are disguised as 'vanars' and carry sticks in their hands as they dance to the beat of two big drums, called ' Ramadolus'. A distinctive feature of this dance is the iron rings called 'anjali' which dancers wear on their legs - ten on each leg. As the dancer proceeds, these rings produce a melodious sound.

Punjab:

Bhangra

Bhangra: The dance known as Bhangra is one of Punjab's most popular dances and the name of the music style. Bhangra is done with classic style Punjabi dresses, and with instruments including a Dhol, Chimta, Tabla, etc. It was originally danced during the harvest season, but now is a popular form of celebration at any time such as weddings and festivals. Bhangra is a very popular style of music and dance in Punjab, but is also very popular in the diaspora, specifically in Canada and the U.K. where many Bhangra competitions are now held. Creating Bhangra teams has become very popular and influential with teenagers.

Giddha: The counterpart to male bhangra, giddha is a female folk dance from Punjab. It is an energetic dance derived from ancient ring dancing that highlights feminine grace and elasticity. It is often accompanied by singing folk couplets known as boliyan. Malwai Giddha:
There are many other dancing styles in Punjab, those are listed below.

Jhoomer
Dhamalan
Dankre
Sammi
Dandass
Ludi
Jindua

Rajasthan:

Kalbelia: The dance is performed by the women of Kalbelia community. The main occupation of the community is catching snakes and trading snake venom. Hence the dance movements and the costumes bear resemblance to that of the serpents. Dancers attired in traditional black swirling skirts, sway sinuously to the plaintive notes of the 'been' - the wooden instrument of the snake charmers.

Sikkim:

Singhi Chham: It is a masked dance of Sikkim, depicting snow lion - the cultural symbol of the state. (Snow lion was decreed the guardian deity of the people of Sikkim by Guru Padamsambhava). The third highest mountain in the world - Kanchenjunga(Khang-Chen Dzong Pa), standing sentinel over the state of Sikkim, is believed to resemble the legendary snow lion. The natives display their cultural symbol by dressing up in furry costumes and performing this majestic masked dance.

Tamil Nadu:

Kamandi or Kaman Pandigai: This is celebrated to commemorate the puranic event when Manmada the God of Love was burnt to ashes by Siva in anger. The villagers separate themselves into two parties as Erintha katchi and Eriyatha katchi and a heated debate ensues. Kaman and Rathi, his consort, are main characters.\ Devarattam Devarattam or ' the dance of the gods' is the dance of the Kambala Naikar community of Tamil Nadu, who believe that they are the direct descendants of the 'devas' or gods. Fast and fluent movements to the rhythmic sound of ' Deva Thunthubi' - a drum-shaped percussion instrument, make this dance truly enjoyable. The dance is performed during festivals, marriages and other social occasions.

Kummi

Kummi: The womenfolk of Maharastra have three closely related dances, which can be performed at any time but are seen at their best during festivities. The simplest of these is the Kummi, in which the dancers gather in a circle and clap their hands as they dance. As an extension to this is the Kolattam, where instead of clapping, the participants hold small wooden rods in their hands and strike these in rhythm as they dance.

Kolattam: Kolattam is an ancient village art. This is mentioned in Kanchipuram as 'Cheivaikiyar Kolattam', which proves its antiquity. This is performed by women only, with two sticks held in each hand, beaten to make a rhythmic sound. Pinnal Kolattam is danced with ropes which the women hold in their hands, the other of which are tied to a tall pole. With planned steps, the women skip over each other, which forms intricate lace-like patterns in the ropes. As coloured ropes are used, this lace looks extremely attractive. Again, they unravel this lace reversing the dance steps. This is performed for ten days, starting with the Amavasi or Newmoon night after Deepavali.

Mayil Attam or Peacock dance: This is done by girls dressed as peacocks, resplendent with peacock feathers and a glittering head-dress complete with a beak. This beak can be opened and closed with the help of a thread tied to it, and manipulated from within dress. Other similar dances are, Kaalai Attam (dressed as a bull), Karadi Attam (dressed as a bear) and Aali Aattam (dressed as a demon) which are performed in the villages during village get-togethers. Vedala Aattam is performed wearing a mask depicting demons.

Poikal Kudirai Attam

Poikal Kudirai Attam: Poikal attam refers to the dance of "false legs". Here dancers are attached to a dummy horse at the waist. Instead of 4 legs of a horse only 2 legs of the person with the prop on his body is present. The image is similar to a rider on a horse (albeit a two legged horse and thus the name Poikal attam). This is a popular folklore dance with themes often on "Raja Desingu" - a once popular Rajput ruler called Tej Singh who invaded areas all the way up until Tamil Nadu.

Theru Koothu: Normally conducted during village festivals, during the months of Panguni and Aadi. This is performed where three or four streets meet. Here, make-up and costumes are considered of prime importance. Only men take part; the female roles also played by them. The performance consists of story-telling, dialogue-rendering, songs and dance, all performed by the artistes. The stories are taken from Puranas, epics such as Ramayana and Mahabharata, and also local folklore. The play starts in the late evening and gets over only during the small hours of the nights. Theru Koothu is popular in the northern districts of Tamil Nadu. The Koothu can be categorised as Nattu Koothu, including Vali Koothu, Kuravai Koothu etc. Samaya Koothu dealing with religious topics, Pei Koothu including Thunangai Koothu and Porkala Koothu dealing with martial events.

Tripura:

Hojagiri: Hojagiri is a reflection of the age-old culture and the unique style of dance of the Reang community of Tripura. Only lower half of the body is moved to create rhythmic movements. Dancers performing unusually amazing acrobatic feats is the main highlight of the dance. Reang girls twist and turn and dance in time to the compelling rhythm, sometimes dancing on an earthen pitcher or balancing a bottle on the head with a lighted lamp on top of it.

West Bengal:

Gambhira

Gambhira: The folk dance/theater of Gambhira originated among the Hindu community of Maldah in West Bengal. After Partition of India, Chapai Nawabganj in Rajshahi became the main center of Gambhira. With time, Gambhira has undergone many changes in terms of theme and style of its presentation. Muslims also became the custodian of the dance, and thereby it became an integral part of their culture. May be for that reason the dancer now wears the Lungi. Gambhira comprises a few characters with dialogues in an atmosphere of music, its themes now being contemporary social problems, fakeness and selfishness of people and so on.

Kalikapatadi: The main story of this Bengali dance form is 'how Shiva calms down angry Kali after killing Asura. It is more prevalent in Howrah. Before the coronation of Shiva on Neelpuja Day (Chaitra Sankranti), the performance of this dance is a must. The green leaves of water hyacinth is used to make the hair of Kali and the black ash of Ganja to decorate the body. Clay mask is used for Mahadeva. Palm leaves reddened with Alta is used as the tongue of Kali. Participants go on fast for the whole day. The dance is being performed for nearly five-hundred years.

Nacnī: female performers who sing and dance professionally in rural Jharkhand, accompanied by male ḍhulkī and nagarā drummers.

Alkap: Alkap is arural performance, popular in many places of Bengal, especially in Rajshahi, Maldah and Murshidabad districts, and the Rajmahal Hills in the state of Jharkhand. This is associated with the Gajan Festoval of Shiva around th emiddle of April. The beginning of this form was in the late nineteenth century. It has no written script, but scenarios based on popular love stories, which the actors elaborate with extreme dialogues, breaking up for songs, dances and comic or satirical sketches called Kap. It is a composite performance comprising acting, dancing, singing and recitation. Each Alkap group consists of ten to twelve dancers, under the leadership of a 'Sorkar' or 'Guru'. The group includes two or three 'Chhokras', one or two lead singers called 'Gayen' or 'Gayok'. Also, there remain 'Dohars', the chorus called 'Gayokdol' and instrumentalists called 'Bajnadars'. Alkap performances take place at night on an open stage.

Domni: Domni belongs to Maldah in West Bengal. A Domni performance starts with a Vandana dedicated to God. Then the 'Mool Gayen' (Lead Character/Protagonist) and 'Chhokras' (Supporting Characters) offer devotional prayers. The dance performances of the Chhokras are called 'Nachari' or 'Lachari'. The main characters are the roles of husbands, wives, mothers, greedy moneylenders, peasant- girls and so on. The plays are composed taking extracts from small events of everyday life and are presented in a satirical manner. The musical instruments are Harmonium, Dholak, Kartal, Flute and so on. Domni groups are found in Maldah. With change on social life and popular taste/culture, this folk form is becoming extinct.

Western Orissa:

Baagh Naach or Tiger Dance: This Kosli Sambalpuri folk dance is performed in Binka and Sonepur of Subarnapur district during the month of chaitra. The dancer (only males) paints his bare body with yellow and black stripes like that of a tiger and attaches a suitable tail. One or more dancers move from house to house and after a crowd gathers the dance begins. The dancers are accompanied by a drummer and a bell player who provides the music. The dance is nothing but acrobatic movement in rhythm. They make hissing sounds while dancing. Tiger dance is also performed in Berhampur during the Thakurani Jatra.

Dalkhai

Dalkhai: Traditional Sambalpuri folk dancers performing on Dalkhai. Though Dusserah is the occasion of Kosli Sambalpuri folk dance Dalkhai, it’s the most popular folk-dance of Koshal , its performance is very common on all other festivals such as Bhaijiuntia, Phagun Puni, Nuakhai, etc. This is mostly danced by young women of Binjhal, Kuda, Mirdha, Sama and some other tribes of Sambalpur, Balangir, Sundargarh, Bargarh, Nuapada and Kalahandi districts under the Koshal region in which men joins them as drummers and musicians. The dance is accompanied by a rich orchestra of folk music played by a number of instruments known as Dhol, Nisan , Tamki , Tasa and Mahuri. However, the Dhol player controls the tempo while dancing in front of the girls. It is known as Dalkhai because in the beginning and end of every stanza the word is used as an address to a girl friend. The love story of Radha and Krishna, the episodes from Ramayana and Mahabharata, the description of natural scenery are represented through the songs.The song associated with this dance is sang in the Kosli Sambalpuri Language. The young women dance and sing intermittently. The songs are of special variety with the additive 'Dalkhai Go' which is an address to a girlfriend. While dancing to the uncanny rhythms of the Dhol, they place the legs close together and bend the knees. In another movement they move forward and backward in a half-sitting position. Sometimes they make concentric circles clockwise and anti-clockwise. The women generally dress themselves in colourful Sambalpuri Saris and wear a scarf on the shoulders holding the ends below in both the hands. Bedecked with traditional jewellery, their robust frames sustain the strains of the dance for long hours. The Dalkhai dance has several adjunctive forms for all ages and groups :

Dances performed by girl Child : Chhiollai, Humobauli and Dauligit.

Dances Performed by teenagers : Sajani, Chhata , Daika and Bhekani.

Dances Performed by Youths : Rasarkeli, Jaiphul, Maila Jada, Bayamana, Gunchikuta .

The man who worship work, composes “Karma” and “Jhumer” invigorating Lord Vishwakarma and the Karamashani goddess.

Dhap: This Kosli Sambalpuri folk dance is mostly performed by the Kandha tribe of Kosal region .Both men and women participate in the dance. Men of one village dance with women of another village. Usually unmarried boys and girls take part. The dance is performed during marriage ceremony and more often for the sake of recreation. The dance is named so because of the accompanying instrument called ‘Dhap.’ The dhap is in the shape of a Khanjari made up of wood with one side open and the other side covered with a piece of animal skin. The dhap dancer holds the dhap with his left hand, the sling slung over his left shoulder, and beats with his right as well as left hand.

Ghumra: Kosli Sambalpuri Folk dance Ghumra is also known as vira-badya of koshal region. It was used during war times in the past to encourage soldiers. It is also used to give social message like forestation, saving girl child,literacy etc. It is a typical drum. It is just like a big pitcher with a long stem made of clay. The mouth is covered with the skin of a Godhi (a reptile). When played with both hands, it produces a peculiar sound quite different from other varieties of drums. The dance performed to the accompaniment of this drum is called Ghumra Naat. It begins fifteen days before the Gamha Puni (full moon in September) and culminates on that night in a ceremonial performance. Young men of various communities fix a Ghoomra each on the chest with string tied the body simultaneouly dance and play. The performance begins with slow circular movements. The Nisan is a smaller variety of Kettle-drum played with two leather-sticks. The player always places himself in the centre and controls the tempo of the dance. He also indicates change over the movements. After a brief dance sequence in different rhythmic patterns all the dancers move in a concentric circle and then stand erect in a line. Then enters the singer who first sings in praise of Saraswati and other gods and goddesses. During the song the drums remain silent. After the prayer-song Chhanda, Chaupadi and other literary folk-songs are sung. Each couplet of a song is followed by a dance. At the end of the each couplet the singer adds 'Takita Dhe' which is a numonic syllable for the time-beats and indicates the dance to begin. Ghumra dancers are basically from Kalahandi and Balangir dist.

Karma Naach: Karam or Karma literally means 'fate' in Kosli Sambalpuri language. This pastoral Kosli Sambalpuri folk dance is performed during the worship of the god or goddess of fate (Karam Devta or Karamsani Devi), whom the people consider the cause of good and bad fortune. It begins from Bhadra Shukla Ekadasi (eleventh day of the brightmoon of the month of Bhadra) and lasts for several days. This is popular among the scheduled class tribes (e.g., the Binjhal, Kharia, Kisan and Kol tribes) in the districts of Balangir, Kalahandi, Sundargarh, Sambalpur and Mayurbhanj. This dance is in honour of Karamsani, the deity who bestows children and good crops. After the puja is done it is followed by singing and dancing in accompaniment of drum (maandal), cymbal etc. The dance performance full of vigour and energy combined with charm of the youth decked with colourful costumes in exuberance of red cloth, set in peacock feathers, skillfully designed ornaments made of small conch shells, brings the onlookers as well as the performers to a mood of trance and ecstasy. In this dance both men and women take part and continue to engross themselves for the whole night. The skillful movement of the young boys with mirror in hand indicates the traditional pattern of love-making in course of dancing and singing. The dance is performed sometimes by boys in group, sometimes by girls in group and sometimes both the sexes together. The subject matter of songs constitutes the description of nature, invocation to Karmasani, desires, aspiration of people, love and humour.

Keisabadi: Only men can take part in this form of the Kosli Sambalpuri folk dance .Some of them holding a stick two feet in length. They dance in different forms by striking the sticks according to the rhythms of the song they sing. The leader sings first and others follow him. They sing in Kosli Sambalpuri language and in every stanza they shout " Haido". The main theme of the song is derived from the love story of Radha and Krishna.

Indian government totally online (Most Useful Important Web Links)

Srikanth Dasari — Sat, 21 Aug 2010 02:42:00 +0000

<http://www.india.gov.in/howdo/onlineservice_detail.php?service=2694>
* Tamil Nadu: E-Pension District Treasury Tirunelveli

<http://www.india.gov.in/howdo/onlineservice_detail.php?service=2695>
* Meghalaya: Search Electoral Roll Online by Name (2008)

<http://www.india.gov.in/howdo/onlineservice_detail.php?service=2697>
* Meghalaya: Search Electoral Roll Online by EPIC number (2008)

<http://www.india.gov.in/howdo/onlineservice_detail.php?service=2698>
* Meghalaya: Search Electoral Roll Online by House number (2008)

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* Himachal Pradesh: Revised Pay and Arrears Calculator-Fifth Pay

<http://www.india.gov.in/howdo/onlineservice_detail.php?service=2702>
* Meghalaya: Search Electoral Roll Online by Part number (2008)

<http://www.india.gov.in/howdo/onlineservice_detail.php?service=2700>
* Andhra Pradesh: Online Motor Driving School Information

RCB ease past KKR at Bangalore

admin — Fri, 20 Aug 2010 18:16:37 +0000

News Update from Other Blogs Around the world

Chasing specialists Royal Challenge Bangalore cruised to yet another impressive victory, this one coming against Kolkata Knight Riders at the M Chinnaswamy Stadium. Requiring just 161 to win, RCB left it too late in their chase but were rescued in the nick of time by a bulldozing knock of 52* from 22 balls (with 3 fours and 5 sixes) from Robin Uthappa. This was after Rahul Dravid’s foundation laying innings of 52 from 35 balls. RCB won the game with as many as 17 balls to spare.

KKR were restricted to 160 for 9 with R Vinay Kumar picking up three wickets. Vinay was also the Man of the Match. Brendon McCullum was the top scorer with 45 from 36 balls. KKR had got off to a good start with Chris Gayle threatening to explode with a 15-ball 34.

Read the original Post Here: RCB ease past KKR at Bangalore

Chargers move up with another crucial win

admin — Fri, 20 Aug 2010 18:16:37 +0000

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Deccan Chargers picked up another crucial win on their way for a possible berth in the Semi Finals. They defeated Chennai Super Kings at Nagpur by six wickets having restricted them to a below par total of 138 for 8. T Suman came good again for DC scoring his second consecutive half century. He made 55 from 44 balls with 4 fours and 2 sixes. DC needed 19.1 overs to get to the target because of R Ashwin’s tight spell of 4-0-13-2.

The CSK innings early on didn’t get any momentum with none of the batsmen staying long enough at the crease with the exception of Suresh Raina (52 from 42 balls with 4 fours and 2 sixes). Ryan Harris was the most successful bowler for DC with mean figures of 3 for 18 in 4 overs and he got the Man of the Match for those efforts. Medium pacer Harmeet Singh was restrictive in his 4-0-21-1 while taking the big wicket of Mathew Hayden.

Read the original Post Here: Chargers move up with another crucial win

Kings XI Punjab earn consolation win over Mumbai Indians

admin — Fri, 20 Aug 2010 18:16:37 +0000

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Kings XI Punjab who have no chance of making it to the Semi Finals have earned a consolation win over table toppers Mumbai Indians at Mohali. Having restricted Mumbai Indians to 154 for 9, Kings XI in determined fashion got the target losing only 4 wickets with four balls to spare. Skipper Kumar Sangakkara saw that the chase was successful with a 42-ball 56. Openers Adrian Barath and Mahela Jayawardene laid the foundation with their 30s.

Mumbai Indians batting first had a pale start to get reduced to 96 for 5. Yet again the top order failed with the exception of AT Rayudu who made 33 from 18 balls. JP Duminy who finally got a game under his belt dragged the innings together with a 28-ball 35 to take his side to respectability. Leg Spinner Piyush Chawla and swing bowler Irfan Pathan picked up three wickets each while medium pacer Love Ablash bowled a superb last over which was filled up with nagging slower ones.

Read the original Post Here: Kings XI Punjab earn consolation win over Mumbai Indians

Suman, Symonds guide DC to important win

admin — Fri, 20 Aug 2010 18:16:37 +0000

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Deccan Chargers posted an important win over hosts Royal Challengers Bangalore to remain in contention of a place in the Semi Finals. T Suman, promoted at no.3 remained unbeaten on a well paced 78 (from 57 balls with 6 fours and 3 sixes) along with Andrew Symonds who scored 53* (from 24 balls with 5 fours and 3 sixes) to see DC home in a target of 185. Skipper Gilchrist laid the foundation with his 19-ball 32 while adding up 77 for the second wicket with Suman.

The visitors had RCB in all sorts of trouble at 68 for 4 but the finishing job was messed up yet again to let the hosts run away with a total of 184 for 6. Virat Kohli played a sensational knock of 58 from 35 balls which included 4 sixes while Jacques Kallis kept his end steady with a 44-ball 68. Pragyan Ojha was the pick of the bowlers with his 2 for 24. The other highlight of the evening was the red hot bowling from Dale Steyn who even clocked 154 kmph. However, a few poor overs from the likes of Praveen Kumar and Vinay Kumar saw RCB lose the game.

Read the original Post Here: Suman, Symonds guide DC to important win

High Voltage Knight Riders upset Daredevils

admin — Fri, 20 Aug 2010 18:16:37 +0000

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An energetic fielding performance saw hosts Kolkata Knight Riders successfully defend a total of 181 against the Delhi Daredevils at the Eden Gardens. Skipper Sourav Ganguly led from the front scoring a responsible 56 (from 46 balls) and following it up with a run out and a sharp catch. The run out was that of Gautam Gambhir just when the Daredevils Captain was engaged in what was looking to be a match winning stand of 99 runs with Sehwag.

Also chipping in for the Knight Riders with the bat were Chris Gayle (40 from 21 balls) and Angelo Mathews (46* from 28 balls) to take the total to 181 for 3. Daredevils were on the track to win the match until Gambhir (47 from 29 balls) got run out by a direct throw from Ganguly in the 11th over. Another major turning point of the match was when Ajit Agarkar produced a reverse swinging yorker to clean up a well set Virender Sehwag (64 from 40 balls with 6 fours and 3 sixes).

With Collingwood and Maharoof failing, the onus was on Dinesh Karthik to pull off the victory but when he fell scoring a 17-ball 20, it was all over for the visitors. The Kolkata Knight Riders were pretty good to defend the runs and win the contest by 14 runs. Ashok Dinda was special with the ball in his 2 for 21 and Ajantha Mendis bowled a couple of crucial overs under pressure.

Read the original Post Here: High Voltage Knight Riders upset Daredevils

Beyond math

admin — Fri, 20 Aug 2010 18:16:37 +0000

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It’s down to the Round of 16 in the IPL – of course, that’s not the number of teams but the number of games left before the semifinals. All but PZ’s Kings are in with a chance. Some about to lose the grip but still hanging in there and some waiting for that one elusive win to move from waitlist to confirmed status.

Beyond the mathematics of points and run-rates, there are some clear, yet subliminal, strengths and/or weaknesses of teams that may have the final say at the conclusion of league stage. I have analytically tried to eye that for the teams still in fray. Take a look!

Mumbai Indians (MI)

The away ghost: As I pointed out in my last post, MI’s real test starts after Game 8 when they play 5 of their remaining 6 matches away and it turned out as suspected. They lost to Chennai and now have to face Punjab in Mohali and Rajasthan in Jaipur before touching base for their last home game. If MI loses these two as well, then all their hopes will be pinned on the game against Delhi Daredevils at home because after that their last two league encounters are also away games. MI may prove me wrong today itself by beating Punjab but if they don’t, then it remains to be seen if they can bury the ‘away ghost’ or are only ‘Lions at Home’.

Delhi Daredevils (DD)

Bowling quandary: Delhi’s problem lies in stringing together a winning combination that is consistent, more so in bowling than batting. Yes, the injuries to Nannes and Nehra haven’t helped matters but the replacements don’t look promising, as was visible in the runs they bled in the death overs against Kolkata. This may prove fatal for DD who still need to win at least two of their remaining 4 matches.

Rajasthan Royals (RR)

Shane Warne: Wonder what that man does to lift the team’s spirit but whatever that is, it’s nothing less than magic and only within the realms of a mentor like Warnie. The possibility that this may be his last hurrah as a player makes him doubly dangerous.

Royal Challengers Bangalore (RCB)

Who to play and who not: Their issue is team selection due to a large number of quality expats (10 in total). This has compounded Kumble and Jennnings’ problems. The ‘who to play and who not’ question needs to be answered quickly or else the team may miss the bus.

Chennai Super Kings (CSK)

Just-in-time arrivals: We have already seen what effect Bollinger has had on CSK’s bowling and with Michael Hussey too in ranks now, watch out for Chennai. The welcome surprise has been Murali Vijay turning into a ‘technically correct butcher’. Vijay and then Hussey, Raina and Dhoni lower down will allow Hayden to play his natural game, which makes it intimidating for bowlers.

Kolkata Knight Riders (KKR)

Tough assignment: The concluding games for KKR are against RCB, CSK, RR and MI respectively. So it means Kolkata cannot blink with four taxing games in a row. The only solace is that their last two matches are at home where they play well with a huge fan base.

Deccan Chargers (DC)

Living on the edge: Of the seven teams in fray, they have the bleakest of chances to make it. With four games left for them, DC has to win each one of those because of the poorest run-rate. That is the only way they can harbor any hopes of finishing in top four. Looking at their mixed performance in the season, it looks highly unlikely.

Read the original Post Here: Beyond math

It’s an unfair IPL

admin — Fri, 20 Aug 2010 18:16:37 +0000

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I hope there’s not more to it than meets the eye but it’s hard to fathom how can the experienced honchos involved in organizing the IPL can be so flawed to hand over one team an advantage that no other team has the luxury of.

What I’m talking about here is the itinerary of the IPL; not the timing of staging it, but the eye-raising allotment of venues that has rolled the dice unreasonably in favor of Mumbai Indians (MI).

No team other than MI enjoys the advantage of playing seven of their first eight games at home. Why? With due respect to MI’s team composition and world-class players, it’s not surprising a wee bit that the team is reaping rich benefits of playing in front of a home crowd in familiar conditions. They are almost through to the semis and this unfair advantage has a role in that besides the quality cricket MI is playing.

And if you think it evens out with MI playing their last six games away, then you are wrong. They return to Mumbai after three games before moving out again to finish the last two. That’s pretty shady stuff!

Even more surprising is that I hardly see anybody bringing this up despite being a logical point. It’s okay to wriggle the tongue and go gaga over a team’s performance, but the biased nature of the schedule giving MI an unreasonable edge over others should be accentuated.

On the contrary, the resurgent Rajasthan Royals (RR) play their first 10 games away and only three at home in Jaipur. Where on earth is this called justice? All of us are aware of the antipathy between the IPL Chairman and the Rajasthan Cricket Association, which makes the allotment of just three matches to Jaipur more suspicious than justified. Introducing Ahmedabad (4 matches), Dharmsala (2 matches) and Nagpur (3 matches) was a reasonable futuristic approach to spread the tournament to more locales but that doesn’t mean you slice away four home matches of a particular team.

The Telangana issue erased Hyderabad’s name from the list of venues and we were told that Cuttack is the surrogate home of Deccan Chargers (DC) this year. But that’s not true! Cuttack gets only two games, which makes DC play 12 away fixtures. What home are we talking about here?

If matches at neutral venues are away games for both the teams involved, then the organizers once again finds themselves on a sticky wicket by not scheduling MI to play even a single match at either Ahmedabad, Dharmsala or Nagpur. Another undue advantage!

But…all is well with Mr. Modi!

Read the original Post Here: It’s an unfair IPL

Surprise Surprise!

admin — Fri, 20 Aug 2010 18:16:37 +0000

News Update from Other Blogs Around the world

Indian selectors may soon discover in hindsight that they have missed out on an opportunity to put at least one more youngster to test by shockingly including Piyush Chawla in the Indian T20 World Cup squad.

If we leave out the disappointment of not seeing Ishant Sharma on the team sheet, there are at least three others who have received surprise garlands: Piyush Chawla, Rohit Sharma and Ashish Nehra.

The mistake was made in the first place itself while announcing the list of 30 probables for the T20 World Cup. Irfan Pathan, Robin Uthappa and Saurabh Tiwary were all missing and Uthappa and Tiwary’s performance is now hitting hard on the knuckles of Srikkanth & Co.

With Ashish Nehra in the party, the team carries with it the risk of welcoming onboard an injured member who, even when fit, is miles away from the international fitness standards. A back-in-form Ishant Sharma, who has more pace and aggression than Nehra, would have been a better choice. Although I still feel the fourth seamer’s booking should have been made in Irfan Pathan’s name who lends more balance to the team with his all-round skills. No fingers, however, can be raised on Vinay Kumar’s name whose current antics got him his maiden national call.

Rohit Sharma is again an eyebrow-raising inclusion with an indifferent form in the IPL. The first choice should be Manish Pandey. If not him, then Virat Kohli, Robin Uthappa and Saurabh Tiwary come to mind. Good luck to Rohit now who needs a whole lot of that, or else he is well on his way to become another Vinod Kambli.

I can hardly see Harbhajan, Jadeja and Piyush Chawla playing together. So where does the point of including another spinner come in? This is the most baffling selection and nothing short of a blunder. If Chawla is back-up, then it’s a very poor one and if he has got a leggie’s place, then it wasn’t required. As I said before, this is like squandering a sitter. This was a window of an opportunity to draft in another youngster and that could have been Manish Pandey who is looting bowlers with loads of runs.

But this is now what we have and it’s time to put a period to our discussions and back Dhoni and his men to erase the nightmarish experience in England last year by bringing the cup back home.

TEAM: MS Dhoni, Virender Sehwag, Gautam Gambhir, Yuvraj Singh, Suresh Raina, Yusuf Pathan, Dinesh Karthik, Ravindra Jadeja, Zaheer Khan, Praveen Kumar, Ashish Nehra, Harbhajan Singh, Piyush Chawla, Vinay Kumar, Rohit Sharma.

Read the original Post Here: Surprise Surprise!